Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Kyrgyzstan and from Toronto.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1972.
I'm losing my edge.
To all the kids in Lyon and Mexico City.
I'm losing my edge to the art-school Manchester kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the spring reverb sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Sandy B to the grime kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Joensuu 1685. All the underground hits.
All Roy Ayers tracks. I heard you have a vinyl of every Fear record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '80s cut and another box set from the '80s.
I hear you're buying a mellotron and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Scratch Acid record.
I hear that you and your band have sold your mellotron and bought an oboe.
I hear that you and your band have sold your oboe and bought a mellotron.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Moleskins,
the Slits,
Crime,
Connie Case,
Wally Richardson,
Kings Of Tomorrow,
Crispian St. Peters,
The Pop Group,
The Offenders,
Little Man,
Eric B and Rakim,
The Leaves,
Banda Bassotti,
Pharoah Sanders,
Lakeside,
The Searchers,
Red Lorry Yellow Lorry,
Severed Heads,
Tears for Fears,
Dave Gahan,
Television Personalities,
Howard Jones,
Dead Boys,
Scratch Acid,
Inner City,
Lungfish,
T. Rex,
Marine Girls,
Peter Gordon & Love of Life Orchestra,
Camouflage,
the Bar-Kays,
Bobbi Humphrey,
The Music Machine,
Stereo Dub,
Minor Threat,
Peter and Kerry,
The Misunderstood,
The Trojans,
Eyeless In Gaza,
Skriet,
The Standells,
Byron Stingily,
Wire,
Judy Mowatt,
Stockholm Monsters,
The Blues Magoos,
New York Dolls,
The Wake,
Electric Light Orchestra,
Kevin Saunderson,
Alison Limerick,
Reuben Wilson,
The Electric Prunes,
Bootsy's Rubber Band,
the Association,
Visionaries,LMNO, T- Love & Iriscience,
New Order,
The Sisters of Mercy,
Bronski Beat,
Bootsy Collins,
Heavy D & The Boyz,
Vainqueur, Vainqueur, Vainqueur, Vainqueur.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.